Typography Task 1: Exercise 1 & 2
|26.09.2023-24.10.2023(WEEK 1-WEEK 5)
|Tang Chin Ting [ 0366473 ]
|Typography/
|Typography/
|Bachelor of
Design (Honours) in Creative Media
|Task 1: Exercises 1 & 2
|Task 1: Exercises 1 & 2
LECTURES
TYPO_0_INTRODUCTION
- Typography : Typography is an arranged way to make the words appear more legible and beautiful to catch our eyes.
- Font : A refers to the individual font or weight within the typeface, like Georgia Regular, Georgia Italic and Georgia Bold.
- Typeface : A typeface refers to the entire family of fonts/weights that share similar characteristics/styles, like Georgia, Arial, Times New Roman, Didot and Futura.
TYPO_1_DEVELOPMENT - Early letterform development : Phoenician to Roman.
-
Uppercase forms are simple combinations of straight lines and
pieces of circles, as the materials and tools of early writing
required.
-
Phoenicians wrote from right to left.
-
'Boustrophedon' means the lines of text read from right to left
and left to right was developed by The Greeks.
-
Etruscan carvers working in marble-painted letterforms before
inscribing them.
-
Square capitals were the written version that added to the finish
of the main strokes which was achieved by the reed pen.
-
Rustic capitals : A compressed version of square capitals which
were faster and easier but they were slightly harder to
read.
-
Uncials refer to letters that are one inch high. However, it
might be more accurate to think of uncials simply as small
letters.
-
Half-uncials as a further formalization of the cursive hand and
mark the formal beginning of lowercase letterforms.
-
Caloline miniscule : Charlemagne, the first unifier of Europe
since the Romans, issued an edict in 789 to standardize all
ecclesiastical texts.
-
Blackletter (Textura) : In Northern Europe, a condensed strongly
vertical letterform known as Blackletter or textura gained
popularity. In the south, a rounder more open hand gained
popularity, called 'rotunda'.
-
Typeforms have developed in response to prevailing technology,
commercial needs, and aesthetic trends.
-Text type classification
-
1450 Blackletter :
The earliest printing type, based upon the hand-copying
styles.
-
1475 Old-style :
Based on the lowercase forms used by Italian humanist scholars
for book copying and the uppercase letterforms found inscribed on
Roman ruins.
-
1500 Italic :
Echoing contemporary Italian handwriting
-
1550 Script :
Originally an attempt to replicate engraved calligraphic
form.
-
1750 Transitional :
Old-style forms, achieved in part because of advances in casting
and printing.
-
1775 Modern :
This style represents a further rationalization of old-style
letterforms.
-
1825 Square Serif / Slab Serif :
Originally heavily bracketed serif, with little variation between
thick and thin strokes.
-
1900 Sans Serif :
These typefaces eliminated serifs altogether.
-
1990 Serif / Sans Serif :
A recent development, including both serif and sans serif
alphabets.
TYPO_2_BASIC
- Describing Letterforms
-
Typography is the best way to know a letterform's component
parts.
-
Baseline: The imaginary is the visual base of the letterforms.
-
Median:
The imaginary line defining the x-height of letterforms.
-
X-height:
The height in any typeface of the lowercase 'x'.
-
Stroke:
Any line that defines the basic letterform.
-
Apex / Vertex:
The point created by joining two diagonal stems.
-
Arm:
Short strokes off the stem of the letterform.
-
Ascender:
The portion of the stem of a lowercase letterform.
-
Barb:
The half-serif finish on some curved stroke.
-
Beak:
The half-serif finish on some horizontal arms.
-
Bowl:
The rounded form that describes a counter.
-
Bracket:
The transition between the serif and the stem.
-
Cross Stroke:
The horizontal stroke in a letterform that joins two stems
together.
-
Crotch:
The interior space where two strokes meet.
-
Ear:
The stroke extending out from the main stem or body of the
letterform.
-
Em/en:
The distance equal to the size of the typeface / Half the size of
an em.
-
Finial:
The rounded non-serif terminal to a stroke.
-
Ligature:
The character formed by the combination of two or more
letterforms.
-
Link:
The stroke that connects the bowl and the loop of a lowercase
G.
-
Spine:
The curved stem of the S.
-
Spur:
The extension that articulates the junction of the curved and
rectilinear stroke.
-
Stress:
The orientation of the letterform, indicated by the thin stroke
in round forms.
-
Swash:
The flourish that extends the stroke of the letterform.
-
Terminal:
The self-contained finish of a stroke without a serif.
- The Font
-
Uppercase & Lowercase
-
Small Capitals
-
Uppercase Numerals & Lowercase Numerals
-
Italic & Roman
-
Punctuation & Miscellaneous Characters
-
Ornaments
- Describing Typefaces
-
Roman
-
Italic
-
Boldface
-
Light
- Comparing Typefaces
-
Comparing typefaces will let you know what you bring to the
discussion of appropriateness in type choice.
TYPO_3_TEXT
- Uppercase forms are simple combinations of straight lines and pieces of circles, as the materials and tools of early writing required.
- Phoenicians wrote from right to left.
- 'Boustrophedon' means the lines of text read from right to left and left to right was developed by The Greeks.
- Etruscan carvers working in marble-painted letterforms before inscribing them.
- Square capitals were the written version that added to the finish of the main strokes which was achieved by the reed pen.
- Rustic capitals : A compressed version of square capitals which were faster and easier but they were slightly harder to read.
- Uncials refer to letters that are one inch high. However, it might be more accurate to think of uncials simply as small letters.
- Half-uncials as a further formalization of the cursive hand and mark the formal beginning of lowercase letterforms.
- Caloline miniscule : Charlemagne, the first unifier of Europe since the Romans, issued an edict in 789 to standardize all ecclesiastical texts.
- Blackletter (Textura) : In Northern Europe, a condensed strongly vertical letterform known as Blackletter or textura gained popularity. In the south, a rounder more open hand gained popularity, called 'rotunda'.
- Typeforms have developed in response to prevailing technology, commercial needs, and aesthetic trends.
- 1450 Blackletter : The earliest printing type, based upon the hand-copying styles.
- 1475 Old-style : Based on the lowercase forms used by Italian humanist scholars for book copying and the uppercase letterforms found inscribed on Roman ruins.
- 1500 Italic : Echoing contemporary Italian handwriting
- 1550 Script : Originally an attempt to replicate engraved calligraphic form.
- 1750 Transitional : Old-style forms, achieved in part because of advances in casting and printing.
- 1775 Modern : This style represents a further rationalization of old-style letterforms.
- 1825 Square Serif / Slab Serif : Originally heavily bracketed serif, with little variation between thick and thin strokes.
- 1900 Sans Serif : These typefaces eliminated serifs altogether.
- 1990 Serif / Sans Serif : A recent development, including both serif and sans serif alphabets.
- Typography is the best way to know a letterform's component parts.
- Baseline: The imaginary is the visual base of the letterforms.
- Median: The imaginary line defining the x-height of letterforms.
- X-height: The height in any typeface of the lowercase 'x'.
- Stroke: Any line that defines the basic letterform.
- Apex / Vertex: The point created by joining two diagonal stems.
- Arm: Short strokes off the stem of the letterform.
- Ascender: The portion of the stem of a lowercase letterform.
- Barb: The half-serif finish on some curved stroke.
- Beak: The half-serif finish on some horizontal arms.
- Bowl: The rounded form that describes a counter.
- Bracket: The transition between the serif and the stem.
- Cross Stroke: The horizontal stroke in a letterform that joins two stems together.
- Crotch: The interior space where two strokes meet.
- Ear: The stroke extending out from the main stem or body of the letterform.
- Em/en: The distance equal to the size of the typeface / Half the size of an em.
- Finial: The rounded non-serif terminal to a stroke.
- Ligature: The character formed by the combination of two or more letterforms.
- Link: The stroke that connects the bowl and the loop of a lowercase G.
- Spine: The curved stem of the S.
- Spur: The extension that articulates the junction of the curved and rectilinear stroke.
- Stress: The orientation of the letterform, indicated by the thin stroke in round forms.
- Swash: The flourish that extends the stroke of the letterform.
- Terminal: The self-contained finish of a stroke without a serif.
- Uppercase & Lowercase
- Small Capitals
- Uppercase Numerals & Lowercase Numerals
- Italic & Roman
- Punctuation & Miscellaneous Characters
- Ornaments
- Roman
- Italic
- Boldface
- Light
- Comparing typefaces will let you know what you bring to the discussion of appropriateness in type choice.
- Text / Tracking: Kerning and letter-spacing
- Kerning: It refers to the automatic adjustment of space between letters.
Figure 3.1 Kerning
- Letter-spacing: It means to add space between the letters.
- Tracking: Normal tracking, loose tracking and tight tracking.
Figure 3.2 Tracking
- Formatting Text
- Flush Left: This format most closely mirrors the asymmetrical experience of handwriting.
- Centered: This format imposes symmetry upon the text, assigning equal value and weight to both ends of any line.
- Flush Right: This format places emphasis on the end of a line as opposed to its start.
- Justified: This format imposes a symmetrical shape on the text.
- "Quite simply if you see the type before you see the words, change the type."
- Texture
- It is important to understand how different typefaces feel as text. Different typefaces suit different messages. A type with a relatively generous x-height or relatively heavy stroke width produces a darker mass on the page than a type with a relatively smaller x-height or lighter stroke.
- Type Size
- Leading
- Line Length
- A type specimen book is to provide an accurate reference for type, type size, type leading, and type line length.
-
Indicating Paragraphs
- Pilcrow: A holdover from medieval manuscripts seldom used.
Figure 4.1 Pilcrow
- Line Space: This ensures cross-alignment across columns of text.
Figure 4.2 Line Space vs Leading
- Standard Indentation: Typically is the same size of the line spacing or the same as the point size.
- Wide Columns: It can be strong compositional reasons.
- Widow: A short line type left alone at the end of a column of text.
- Orphan: A short line type left alone at the start of the new column.
- Different kinds of emphasis require different kinds of contrast.
- Sans Serif Font ( Univers )
Figure 4.3 Sans Serif Font
- Highlighting text with black color of the text.
- Column of type to maintain a strong reading axis.
- Quotations Marks can create a clear indent, breaking the left reading axis.
Figure 4.5 Quotations Marks
- A head indicates a clear break between the topics within a section.
- B head here is subordinate to A heads. Indicate a new supporting argument for the topic.
- C head is not common but highlights specific facets of material within B heat text.
- Cross aligning headlines and captions with text typen reinforces the architectural sense of the page. However, one line of headline type cross-aligns with two lines of text type and four lines of headline type cross-aligns with five lines of text type.
Figure 4.6 Cross Alignment
INSTRUCTIONS
SUBMISSION
Task 1: Exercise—Type Expression
- 26.09.2023 - 03.10.2023 ( Week 1 - Week 2 )
.jpg)
Figure 5.1 Final Type Expression (13/10/2023)
In my opinion, the word "float" conjures up images of water and an
upside-down picture. I used the method of an inverted image of the word floating on the
water for my design.
Figure 5.3 Type expression "FLOAT" JPEG (02.10.2023)
B) CHAOS
I have two different types of thoughts: one is chaotic , and the other
is labyrinth-like. So, to emphasize the term, I drew a labyrinth and
used an unclean background.
Figure 5.4 Type expression "CHAOS" JPEG (02.10.2023)
C) BOUNCE
'BOUNCE' should be present freely; I employed the tossing
motion and I needed to make sure that my design made the words appear to
have been jumped until they were twisted.
Figure 5.5 Type expression "BOUNCE" JPEG (02.10.2023)
D) DIVE
When we hear the term "DIVE", we immediately
picture the sea or a swimming pool. In order to do this, I put the label
of diving glasses and deep sea to the material.
Figure 5.6 Type expression "DIVE" JPEG (02.10.2023)
TYPE EXPRESSION ANIMATION
- Using the word "BOUNCE" to describe the animation's bouncing ball
line.
Figure 5.7 Type Expression Animation "BOUNCE" GIF
(17.10.2023)
To complete the type of emotional animation, I added 12 frames. The
term BOUNCE is perfectly reflected in this animation. Let each letter
dance along the line of bouncing balls.
Figure 5.8 Type Expression Animation "BOUNCE" JPEG
(17.10.2023)
Task 1: Exercise 2 —Formatting Text
- Kerning and Tracking
Figure 6.1 Kerning And Tracking Final JPEG (25.10.2023)
2. Layout
- In lectures, we were required to arrange a text that had been
provided and make sure the content was clear. In addition, we had
suggested including additional illustrations to liven up our
arrangement.
Figure 6.3 Layout Processing JPEG (25.20.2023)
Figure 6.4Layout Processing JPEG (25.20.2023)
Figure 6.5 Layout Processing JPEG (25.10.2023)
- I had prepared 4 sketches for the layout.
Figure 6.6 Layout Processing JPEG (25.10.2023)
- After the guidance of my lecturer Miss Low, I was required
to choose this layout for the final. But I still need to
arrange the kerning of the text and the illustration that I
added before.
Figure 6.7 Layout Processing JPEG (25.10.2023)
FINAL TEXT FORMATTING LAYOUT
HEAD
Font/s : Futura Std
Type Size/s : 59 pt
Leading : 12 pt
Type Size/s : 59 pt
Leading : 12 pt
BODY
Font/s : Univers LT Std
Type Size/s : 10 pt
Leading : 13 pt
Characters per line : 62
Alignment : Justify with last line aligned left
Font/s : Univers LT Std
Type Size/s : 10 pt
Leading : 13 pt
Characters per line : 62
Alignment : Justify with last line aligned left
Margins : 123mm top + 11.289mm left / right /
bottom
Columns : 1
Gutter : 21.167mm
Columns : 1
Gutter : 21.167mm
Figure 6.8 Final Layout JPEG (25.10.2023)
Figure 6.9 Final Layout PDF (25.10.2023)
Figure 6.10 Final Layout with Grids JPEG
(25.10.2023)
Figure 6.11 Final Layout with Grids PDF
(25.10.2023)
FEEDBACK
Week 2
General Feedback:
My task 1 sketches have added too many technical additions that have
distorted the words. So I need to avoid doing that in my design.
Specific Feedback:
1. CHAOS has been rethinking because of the wrong
spelling.
2. FLOAT one of the sketches needs to cut off the
technical additions.
3. BOUNCE is almost good.
4. DIVE is one of the sketches that I need to redo the line
without using technical additions.
Week 3
General Feedback:
General Feedback:
My sketches still have something that needs to be altered but the
Bounce is almost good at all.
Specific Feedback:
1. Dive is out of the font that the lecture has given, which means that
I need to choose another font type that the lecturer was given and
rethink another design.
2. Float doesn't have any creativity, the lecturer asked me to do it
first after that, she will give a recommendation.
3. Chaos is almost good but it is still incomplete to present the
word chaos with the meaning. Maybe it could have a chaotic
background.
Week 4
General Feedback:
The word "BOUNCE" must be modified to fit the bouncing ball line with
the alphabet 'B'. My type expression final was completed after Miss
Low stated that it looked better following the change. Miss Low also
thought the type expression animation looked nice.
Week 5
General Feedback:
Miss Low, my instructor, picked the layout with the greatest text
formatting out of my four layout sketches. She advised me to employ
a rule to ensure that the opening line of my text corresponds with
the illustration I had placed so that it will be more
understandable.
Specific Feedback:
She gave me advice regarding my kerning exercise, telling
me to scale down the sketches to ensure that the text
spacing was either excessively small or large. My text
looked better when I changed the kerning.
REFLECTIONS
Experience:
- First and foremost, I believe that typography is related to our life. For instance, the publicity posters that are placed everywhere practically seem to be impressed with typography, using the font type and sketches to attract our attention and produce the desired publicity effect. On the other hand, proceed with the 'Braille Code'. I have seen it previously and I still recall that it was used on the majority of the lift floor labels. It does, however, serve a purpose for those who has visual and hearing impairments. These conditions let me realize that sometimes we can't achieve a smooth expression if we stray from typography. Overall, I didn't think I could finish Task 1 before learning about typography. My sketches were consistently rejected by the lectures, despite the fact that I had done a lot of Internet study. I included technical details in my sketches because I had a misunderstanding with typography, so the instructor did not approve of them. But as of right now, thanks to the guidance provided in our lecture, I understand typography better.
- In our lecture, I have observed that the transformation of words into visual art. Typography is not just about letters, it is also a considerate dance of forms and spacing. I have noticed how the choices of typeface and its layout can completely transform the mood and message of design. I learned that there are more and more incredible sketches that are created by others as our lecture guides every student's work. It is the ideal technique for me to discover more about how typefaces can be introduced without any further technical support.
Findings:
- Over the past few weeks in my typography class, I have embarked on a creativity journey that has not only deepened my understanding of typography but also enabled me to express myself in unique and captivating ways. Typography, as I come to realize, is almost far away from just arranging the words and characters on a page, it is a mode of expression, a strong meaning of communication. I have learned how to embrace the land of typography thanks to the gentle supervision of our lecture, this is my favorite item and I enjoy it.
FURTHER READING
Figure 7.1 Typography Referenced ( 05.29.2020 )
I chose this book because when I previewed its content, it
attracted my attention. It introduced type history, typeface and
design, and the most interesting is typography terminology and
language.
Figure 7.2 Typography Referenced ( 17.102023 )
This is the first thing that I have learned. I have seen it
previously in my residence, it is placed on the elevator floor
labels. It is called the 'Braille Code', which suggests that he hoped the system could be used by people
with visual and hearing impairments and anyone who was unable
to obtain a formal education.
Figure 7.3 Typography Referenced ( 17.10.2023 )
- In 1816, William Caslon IV designed the first san serif font, creating the English serifed design. This sans is based on the Greek lapidary letters of the fifth century.
- In 1818, Bodoni's (71) Manuale showed the quintessential modern type. Nowadays, there are hundreds of Bodoni revival designs based on those shown in this benchmark of typography.
- In 1821, Italienne which is one of the first commercially popular advertising display designs (was first used).
Figure 7.4 Typography Referenced ( 25.10.2023 )
- In 1892, American Type Founders (ATF) was founded as a consortium of twenty-three individual type foundries.
- Not only did the consortium meet its commercial goals, but the design community benefited from the monumental outpouring of exceptional type design it produced.
- In the most prolific years between 1900 and 1935, ATF built the foundation of U.S.-type design.
- Eric Grill: An English sculptor, stonecutter, artist and type designer. His other designs include Joanna, Perpetua and Pilgrim.
Figure 7.5 Typography Referenced ( 25.10.2023
)
- Warren Chappell: He created typefaces for both American and European foundries. His works include Trajanus, Lydian and Lydian Cursive.
- Roger Excoffon: The French graphic and type designer. He created among other faces, Mistral in 1953 and Antique Olive in the 1960s.
- Tony Stan: A profile New York letter and type designer affiliated with Photo-Lettering, Inc, and International Typeface Corporation. His designs include, among others, ITC Berkeley Old Style, ITC Garamond, ITC Century, and ITC Cheltenham.
- Freeman (Jerry) Craw: He created both metal and phototype faces, among them Craw Clarendon, Claw Modern, and Ad Lib.
- Herb Lubalin: In the 1960s and 1970s he broke new ground. At the same time, it set the standard for graphic communication that much of the graphic design community emulated.
- Hermann Zapf: One of the twentieth century's most important and prolific typeface designers. He has created such universally acclaimed typefaces as Optima, Palatino, Melior, ITC Zapf and others.
- Aldo Novarese: He was associated with Turin's Nebiolo-type foundry and created faces primarily in conjunction with Alessandro Butti, among them Augustea and Microgramma became Eurostile when he added lowercase.
- Aaron Burns: His contribution to the typographic world is as significant as many of the most important and well-known typeface creators.
Figure 7.6 Typography Referenced ( 25.10.2023
)
- 1930s: The first year of this decade saw the release of Metro, the only sans-serif type William Addison Dwiggins designed.
- During the second half of the 1930s, DIN 1451 was released. It was a realist sans serif typeface widely used for traffic, administration, and business applications, established by the German standards body Deutsches Institut fur Normung as a standard typeface for German signage.
- It was intended to express the modern spirit of the 1930s while breaking away from previous sans serif's geometric proportions and Montone weight.
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